Sunday, March 10, 2013

Spolier alert: See ya later, Owen Sleater, in a box, Charlie Cox



I have a fractured ankle and that comes with enforced sofa time. My indolence has led to a generally dissolute way of life. No calories have been counted for 5 weeks and I have also broken one of my cardinal rules. I have ‘jumped ahead’ and watched episodes of Boardwalk Empire not yet screened on free to air TV in Australia.  In fact I have seen seasons 1-3 and, as Christopher Plummer would say in his Madeline narration, ‘that’s all there is, there isn’t any more’. Hence ‘spoiler alert’.

 Not many television series have you caring about their characters as if you really know them.   When the Boat Comes In was one. Is it a post WWI thing?

There is so much stuff about Boardwalk Empire on the ’net already that I won’t indulge too much here. There have been a few series over the years where I have really got to know and care about the characters. The first for me was When the Boat Comes In and currently Breaking Bad falls into the same category. You spend so many hours with the characters in a television series,  they engage you in a way they can’t in a 90 minute movie. In that respect, as a friend of mine said recently,  a TV series is more like a novel than a movie.

 

 A character being intensely gorgeous may be a factor in us caring about their fate. Charlie Cox as Owen Slater in Boardwalk Empire fits that theory.
  
Boardwalk Empire has one very special quality when it comes to empathy for its characters. Its attitude to them recalls Spike Milligan’s promo for the army in The Great McGonagall: ‘Join the army, travel to distant and exotic places. Meet interesting and exciting people, and then kill them’. Watch Boardwalk Empire, get to know and love its flawed characters then see them come to grief in myriad creative ways! Mostly there is no wondering ‘if’ a BE character will expire, just speculating when and how. For me, and I gather even for some of the least sentimental US critics, Owen Sleater’s demise in season 3 brought a punch to the guts and a wave of grief  that didn’t dissipate for days. 


Millions of viewers shared (sorry, will share, I did warn you) Margaret Thompson's (Kellie Macdonald's) grief at Owen's death.
The writers and Charlie Cox’s characterisation made Owen so damn likeable, they built up the sexual tension with Margaret so enticingly slowly, his killing occurred off screen, its revelation was unsuspected and truly shocking. We shared Margaret’s perspective both literally by the way the scene was shot and edited and via the heart rending tenderness of that flashback to their last conversation and the news that she was pregnant with his child. Guys! It is not fair!  I think only Cordelia’s death at the end of King Lear has hit me as hard (and I don't fancy her). 10 out of 10 I guess.


Monday, February 18, 2013

Throw another dead fish on the concrete…


Australians have a reputation  for loving marine cuisine – witness Paul Hogan’s (infamous) ‘Throw another shrimp on the barbie’ tourism campaign. In reality less than 5%  of our weekly grocery budget goes on fish and seafood and that is over twice the percentage we spent on them in the 1970s-80s when Hoges’ campaign aired.  We also prefer the convenience of canned and frozen fish to preparing it fresh.  These days we eat out significantly more than we did 35 years ago;  I don’t know how often we choose fish/seafood when we dine at a restaurant or cafĂ© but that impeccable source, Wikipedia, claims fish and chips is our favourite take away (I would have thought Thai or pizza).


 Hoges sure knew how to get a good spot for his barbies!

Sydney’s Fish Markets hold an almost iconic status. No ‘silly season’ reporting is complete without vision or audio featuring supposedly seafood-mad Sydneysiders queuing there at dawn on Christmas Eve to cart away kilos of prawns! Indeed Sydney Fish Markets, besides being the supply hub for retailers and restaurants throughout the greater metropolitan area, attract 3.5 million non-trade visits a year. Many people presumably take their purchases home, but many eat sushi or fish and chips  at the numerous food outlets there.

Last week I met up with some friends from the UK for lunch at the Sydney Fish Markets.  We had been to Doyles, Watsons Bay on their previous trips and we thought we’d give their more centralised restaurant a go. A few things struck me: the fish markets, or what I could see of them (I’m temporarily in a wheelchair) are not picturesque, they have a grotty industrial atmosphere, are smelly and their site seems to be at least 50% crowded car park. The Doyles restaurant is quite prosaic, with plastic chairs and tables and nothing to compare with the ocean views of its eastern suburbs cousin. The patrons on that day were overwhelmingly bussed-in Japanese tourists. 


 The Sydney Fish Markets at Blackwattle Bay, Pyrmont

It set me wondering: are the Fish Markets, like the Ploughman’s Lunch, a kind of marketing ploy?  Has a tawdry, semi-industrial precinct been spruiked as a must-see tourist destination  playing fast and loose with Sydney’s actual relationship with its fishing industry?

I decided to investigate…

When the First Fleet arrived in Port Jackson, six months on a diet of dried meat, rice and peas had left its occupants craving fresh food. Of course what they most needed was fruit,  vegetables and protein.  The first category will have to wait for another post. Their protein needs were met initially by roasting rats, crows, even dogs, and the occasional kangaroo or emu, and soon by trading  with the indigenous population for fish.  Aboriginal fishing technologies (e.g. spears, shell fishhooks and small canoes) were well developed and  fish made a substantial contribution to the diet of the Cadigal people.  By contrast, the British colonisers were ill-equipped  and poorly skilled in the fishing methods required to catch Port Jackson’s  580 plus fish species. They may not have had much of a taste for fish either.


Cadigal people of Port Jackson fishing  soon after European settlement (source NSW State Library) 

Although we know today that fish is  a good part of a healthy diet and many historical sources remark on how plentiful fish was at the time, the early settlers eschewed fish (and fruit and veg for that matter) preferring to maintain the meat-centric diet of their homelands. Mutton (lamb) quickly became plentiful and cheap while beef and poultry were reserved for special occasions such as Christmas and weddings.

Prior to the advent of steam powered ships, refrigeration and haul net and trawling styles of fishing,  catching fish on a large scale and keeping it fresh was quite a  cumbersome business.  Individual  fishermen sold their catches close to the harbour shores. The fish were often washed in polluted water and sold directly from wharves. They spoiled fast and any attempts to distribute them were made by horse drawn cart in the cooler night time hours. 


Water colour of European men fishing - early days of the colony (source NSW State Library)
  
Sydney had no central fish market until 1872 when a grandiose building was erected by the city council  on the block bounded by Forbes, Bourke and Plunkett streets in Woolloomooloo. This commodious neo-classical brick building comprised two levels, with administrative offices fronting Forbes St and a lower building surrounding an inner courtyard. A large central tower with a multi-faced clock and an ornate curved copper hood topped the structure. Over the entrance was emblazoned 'M. Chapman - Mayor' and 'A Market  for the Sale of Fish’.


Sydney's first centralised fish markets in Woolloomooloo in their heyday. Exterior (above) and engraving of interior in 1875 with dead fish on concrete (below). Sources: City of Sydney Archive Pix and State Library of Victoria.





In his book, Sydney Harbour -  A History, Ian Hoskins describes  how fish were laid out in chalk circles on the building’s concrete floor with the fisherman’s name inscribed beside them.  By now ice could be used to keep fish fresh for longer but it is no surprise to learn that in Regency and Victorian society fish was frequently consumed at breakfast time  before it deteriorated.  The short ‘shelf life’ of fish, as Hoskins also discusses in his book,  led many people to eat only fish they had caught themselves. Doing so was clearly a cost saver too.

Because of the proximity to the fish markets, oyster cafes proliferated in Sydney’s eastern  end and suburbs in the later 19thC. Whether the markets themselves had capacity to serve seafood for direct consumption doesn’t seem to be recorded anywhere.  Presumably there was something to draw patrons though  as Shirley Fitzgerald in her entry on Woolloomooloo in The Dictionary of Sydney,  mentions  that ‘fights at the fishmarkets and in the pubs around the wharf (became) daily occurrences’ during this period and  contributed to the social decline of the area. 

 
  
Early 20thC - the 'new' Fish Market cnr Engine & Thomas Streets, Haymarket
White sign with black lettering in centre of picture proclaims 'FISH' - this looks like the retail section (source City of Sydney Archive Pix).

In 1911, a new Fish Market opened on the corners of Thomas & Engine Streets in the Haymarket area.  The City of Sydney Council photo archive has photographs of  it under construction and by 1919 there was a retail shop attached. Again it is only supposition, but I assume that meals could be had or at least you could buy a bottle of oysters to go. My paternal grandmother enjoyed bottled oysters with vinegar, bread and butter all her life. Her purchases very likely originated from one of the many government–licensed fish agents operating out of the Haymarket premises. However in their mid 20thC incarnation there was nothing inviting about the Sydney Fish Markets which had been modernised to  remove all character and from photos do not seem to feature any retail outlet or eatery.

  
What the Haymarket premises looked like by the 1960s (source: City of Sydney Archive Pix).

Between the two world wars increasing focus was placed on the production of fish for domestic consumption and to reduce Australia’s reliance on food imports. After World War II attention turned to developing the industry for the export market. Lamb remained Australians’ preferred dinner time protein well into the 1970s. I don’t have stats to back this  up but I’d guess that  various waves of immigrants have increased Sydney’s appetite for seafood. It is after all a staple of the Mediterranean and Asian diets. The Sydney  Fish Markets relocated to their current site at Blackwattle Bay in 1966. They were privatised in 1994 . The management trust comprises families and networks of Italian, Greek and Chinese Australians which reflects the central place fish consumption plays in these cultures.

In a recent article on the Fish Markets bemoaning the abandonment of plans to improve them, Matt Khoury lambastes the state government and shareholders, the Catchers Trust and the Sydney Fish Market Tenants and Merchants Pty Ltd, for their lack of attention and to both the aesthetic and environmental aspects of the markets. This is how he describes the market:

While it sells itself as a tourist attraction, the smelly fish market has been an exercise in self-interest for decades. As it stands, plastic seats on metal stands overlook the dirty and aptly named Blackwattle Bay. Heritage falls apart on the harbor's (sic) shore, iron rusts, and there is no foreshore access. Two huge cement factories that dominate the view around the bay pollute the water.

All that is not a disincentive to the 3.5 million annual visitors and is irrelevant to the restauranteurs and suburban fishmongers who source their product from the market.  It will be interesting to watch how the venue evolves and to see if a working market and a tourist/recreational magnet can flourish side by side.

 

 The seagulls like the Sydney Fish Markets just the way they are!

Thursday, January 10, 2013

A funny thing may have happened…

There are several theories of about why something makes us laugh. Freud said that humour either expresses hostility or lust or in other ways releases repressed inhibitions. Later Zillmann and Bryant posited three types of humour: tendentious (victim-centred), innocuous (word play and the like) - and that based on misattribution (where characters say and do things against social norms or expectations). Another distinction I have heard is that all humour subverts our expectations or pushes moral boundaries. Personally I think there are two types of humour – the kind I find funny and the unfunny sort like Kathy Lette’s writing and episodes of the TV sit-com Good Times.

 
Would you want this emblazoned on your chest?

I had managed to effectively block the cringe-making mugging 'JJ' from memory until I saw a Korean guy wearing a ‘Dyn-o-mite’ T-shirt the other day – that brought it crashing back (shudder). And of course escaping the shamelessly self promoting Lette is a bit like trying to avoid backpackers spruiking for charities and phone plans in Eddy Avenue…


 The shy and retiring Ms Lette posing in front of one of her favourite paintings

Just what tickles individual funny bones and why is a bit of a mystery. I almost ROFL-ed watching Ricky Gervais’s stand up show Politics on the ABC last week. We have the DVD so I've seen it at least 3 times already but it continues to crack me up. Gervais’s comedy often consists of pointing out irrationality and hypocrisy but he is also accused of being crass and cruel. Witness the controversy over his Golden Globes hostings and the mixed reactions to An Idiot Abroad and Life's Too Short both of which I loved.

Gervais lists Jerry Seinfeld and Larry David amongst his influences/idols so perhaps I should like their work too but, try as I might, I can't endure Seinfeld and most clips I've seen of Larry David leave me cold.  I am at odds with most of the world in this. I wondered if it could be cultural, Ricky and Karl (Pilkington) and Warwick (Davies) all have a diffident, understated quality to their delivery whereas Jerry, Kramer, Elaine et al deliver their material with a subtlety that makes King Kong atop the Empire State Building seem like an early Leonard Cohen concert.

But if I have a cultural preference for underplaying how is it that I also love the 'Ooo, er… missus' humour of Frankie Howerd, Are You Being Served? and the Carry On films? Of course they are a major part of my cultural heritage too.

Can what makes us laugh change over time? Could I go from finding All In The Family and On The Buses excruciating to appreciating their exquisite irony and masterful commedia del'arte techniques? It has worked the other way around. I hated Men Behaving Badly in my early feminist days because I thought it celebrated chauvinism. I later discovered it was very funny indeed and have become a lifelong Martin Clunes fan. My feminist scruples also made me initially recoil from Ab Fab, then I came to relish the OTT characterisations of Patsy & Edina, the insanity of Bubble and the resigned martyrdom of Saffy. Watching the 'specials' made 20 years on though I find the situations stale, the jokes forced and the characters too grotesque to enjoy any more.


'Titter ye not' urged Frankie but I always did.

Does appreciating the context of or intention behind humour make it more likely that we will 'get it'? E.B. White, author of Charlotte's Web and Stuart Little and generally erudite writer pointedly said:
Humor can be dissected as a frog can, but the thing dies in the process and the innards are discouraging to any but the pure scientific mind.
Acquiring new life experiences might lead us to appreciate different types of humour. Perhaps if I lived in New York I would learn to like Seinfeld. Perhaps if I had a lobotomy I would find the 3 Stooges amusing. (Note: try watching the 3 Stooges without the whacky sound effects track – their true ghastliness becomes apparent).

Here, in keeping with my theory, but at the risk of disemboweling frogs, is a random* sample of the two types of comedy: funny and not funny…

FUNNY
Why
NOT FUNNY
Why
Blackadder
It started off pretty satisfying and quickly became one of the best scripted and performed comedies ever! Funnier than a Funster from Funville with an overactive funnybone.
The Footy Show (and Hey, Hey, It's Saturday reunion show)
Guess this is an example of Zillman & Bryant's victim-centred humour - the main victims being the viewer's intellect and human dignity in general.
The Plank
Stellar cast headed by my adored Eric Sykes who wrote and directed it. Superlative silent humour – a classic!
Mind Your Language
Appalling hackneyed racist rubbish proving Barry Evans unable to sustain a sit-com without Richard Gordon's rich comic settings.
Monty Python
Creative, absurd revolutionary comedy combining 6 brilliant minds.
All Charlie Chaplin films (well the ones I've seen)
Charlie Chaplin is quaint and whimsical but to me he is simply NOT funny and at his worst he is nauseatingly mawkish.
Judith Lucy
Always thought she was pretty funny but now that I've seen her live, read her memoirs and watched her Spiritual Journey  she is a goddess to me.
Wes Anderson's films
I know he is considered cool but The Royal Tenenbaums, The Life Aquatic and The Darjeeling Limited all left me feeling irritated, detached and as if I had just witnessed unsettling acts of onanism.
Bob Hope
Master of timing, lily livered-liness, lust accompanied by performance anxiety and fair-weather friendliness (even that is more than Crosby deserved). Major inspiration for Woody Allen.
Bless This House
I baulk at the very idea of the Sid James's persona being let loose outside of his natural habitat the Carry Ons. He cannot play a suburban husband/dad. He is and must remain a sleazy comic archetype.
Dirty Rotten Scoundrels
Michael Caine and Steve Martin go together like rock melon and blue vein cheese. Both combinations I find surprisingly delicious!
The Love Guru
Embarrassing, self-indulgent tripe. Mike Myers is capable of so much better but like Trey Parker & Matt Stone, he just cannot let his inner sniggering adolescent go.
Denise Scott
Always enjoyed her on The Big Gig but discovered her true self-deprecating genius on Spicks & Specks. A national treasure!
Hey, Dad
Made me distinctly uneasy even before recent revelations. Contrived, heavy handed and completely unnecessary.
Marx Brothers
Despite Zeppo and despite the musical interludes, what a body of work!!! Comic geniuses.
Umbilical Bros
Skilled? Yes. Funny? I don't think so. These guys are mime artists. Enough said.
This Is Alan Partridge
Steve Coogan channelling toothy Leslie Crowther and making us (well me) wince and guffaw in equal parts. Less said about Tropic Thunder however the better.
Jerry Lewis
Why have the French deified this man? He is a grotesque buffoon with the comic finesse of Godzilla. Playing himself (a stingy, arrogant bastard) in King of Comedy is his best work – what does that say?
Pete 'n' Dud
Right through from Beyond the Fringe to Behind the Fridge – a perfect partnership, hilariously funny. Micaleff's and Curry's reprise of some of their sketches showed how strong the material is.
Dud sans Pete
I really love his music (even the musical jokes) and I know he had to flee Peter Cook's bullying and was ill not drunk when he stumbled on stage; however his US movies are just not funny.
Good Jim Carrey
When his touch is light as in Eternal Sunshine of the Spotless Mind, Man In the Moon, and The Truman Show he is funny and moving.
 Bad Jim Carrey
Save me from The Grinch Who Stole Christmas, Ace Ventura - Pet Detective and The Mask! Maybe Jim needs to take his anti ADD meds before choosing or shooting a script.


*I reiterate that this is by no means an exhaustive list. I have ommitted the brilliant John Clarke and failed to analyse the complex (scantily clad) body of work produced by Mr Benny Hill. I am keen to hear what makes others chortle or wince.


The Umbilical Brothers - is 'funny mime artist' an oxymoron?

So as I was saying, a funny thing may have happened to me the other day when I entered a competition to find the wittiest pun by a Sydney blogger – I was really keen so I entered ten times. I thought that would give me an edge but I didn't win with any of my entries. That's right, no pun in ten did! Boom, tish!



Just found out that Denise Scott and Judith Lucy are doing a show TOGETHER in Melbourne - hope it comes to Sydney!